The wonderful world of Disney is finally headed to Netflix

FILE - In this Friday, Jan. 17, 2014, file photo, a person displays Netflix on a tablet in North Andover, Mass. Netflix reports quarterly financial results on Tuesday, Jan. 19, 2016. (AP Photo/Elise Amendola, File)
In this Friday, Jan. 17, 2014, file photo, a person displays Netflix on a tablet in North Andover, Mass. Netflix reports quarterly financial results on Tuesday, Jan. 19, 2016. (AP Photo/Elise Amendola, File)

The time has finally come. Netflix announced Monday that it will become the exclusive U.S. pay TV home of the latest films from Disney, Marvel, Lucasfilm and Pixar, starting in September.

Though specific films weren’t named, Netflix’s head of content Ted Sarandos listed other new additions coming at users this summer. In June, we can expect sci-fi adventure classics like the first three original “Jurassic Park” films and Oscar-winner “Spotlight.”

July welcomes “The Big Short” and Netflix Original “Brahman Naman” while “The Little Prince” and “The Fast and the Furious” arrives in August.

Basically, if you thought you were going to be active this summer, Netflix is going to shut that dream down pretty quickly. Oh well.

Cannes, the final day: Britain’s Loach wins Palme for ‘I, Daniel Blake’

Hayley Squires and Dave Johns in "I, Daniel Blake."
Hayley Squires and Dave Johns in “I, Daniel Blake.”

 

In a big surprise, Britain’s Ken Loach won the Palme d’Or at the Cannes Film Festival Sunday evening, his second after 2006’s “The Wind That Shakes the Barley.”

And in yet another surprise, the highly divisive “It’s Only the End of the World” from French-Canadian director Xavier Dolan took the grand prix, or second prize, while the critical favorite, “Toni Edmann,” by Germany’s Maren Ade was shut out. Also missing from the award winners were two highly acclaimed American films, Austin director Jeff Nichols’ “Loving” and Jim Jarmusch’s “Paterson.”

“The Salesman” from Iran’s Asghar Farhadi took best screenplay and best actor, for Shahab Hosseini. Best director was shared between Romania’s Cristian Mungiu for “Graduation” and France’s Olivier Assayas for “Personal Shopper,” another highly divisive film that starred Kristen Stewart.

Britain’s Andrea Arnold won third place, the jury prize, for the American-set “American Honey,” while Jaclyn Jose of Brillante Mendoza’s “Ma’ Rosa” won best actress. The latter was also a surprise, since Isabelle Huppert wowed critics with her performance in Paul Verhoeven’s thriller “Elle.”

The Camera d’Or, which goes to first-time directors, went to “Divines,” which played in Directors’ Fortnight.

MORE FROM CANNES: Talking animals and religion with director Jim Jarmusch

The ceremony capped a contentious festival, where many critics voiced strong opinions about the competition entries. The biggest victim of the annual barrage of vitriol was Sean Penn’s “The Last Face,” which ended up getting the lowest score in history from the critics featured in the British trade journal Screen International. It got only 1 star from two critics, and the rest gave it an “X,” or “F.”

Loach’s Palme winner, however, was in the middle of the critical pack. It has an overt political message, criticizing the bureaucracy that administers the British welfare system. It stars Dave Johns as Daniel Blake, a pensioner who faces loss of payments, and Hayley Squires as Katie, a single mother of two who is befriended by Daniel after she, too, loses battles with the welfare bureaucracy.

It’s a very touching, humanistic tale, as most of Loach’s movies are. But it treads dangerous ground in almost becoming too preachy — a turnoff for most critics. Still, it has heart, and Loach is a veteran, beloved filmmaker in Cannes.

Dolan’s victory was greeted with boos in the press audience. But his movie, which deals with a gay man who goes home to tell his family that he is dying,  has been far underrated by critics, some of whom deride the 27-year-old for his early success. He first appeared in Cannes when he was only 19 and has become Canada’s filmmaking prodigy.

It’s too early to say which films from Cannes will be contenders for an Oscar. Certainly, Iran’s “The Salesman” should be among the best foreign language Oscar contenders, if Iran chooses to submit it. Variety and other American outlets have been predicting that Nichols’ “Loving” will also be an Oscar contender.

Cannes Day 10: Two fine movies close out competition

Isabelle Huppert gives a wicked performance in "Elle."
Isabelle Huppert gives a wicked performance in “Elle.”

Two fine but very different movies — Paul Verhoeven’s “Elle” and Asghar Farad’s “The Salesman” — closed out the competition this weekend for the Palme d’Or in Cannes. And either one could get a major prize.

First, let’s talk about the deliciously evil and perverse “Elle.” Verhoeven, who brought “Basic Instinct” to Cannes in 1992, is back with another tale of a woman in danger who is also dangerous.

This time, it’s the brilliant Isabelle Huppert as Michele, a video game company founder in Paris who is raped by a man in a black ski mask in her luxurious home at the beginning of the film. Michele doesn’t act the way you might think. Once the rapist leaves, she calmly cleans up the broken glass from the floor. Then she takes a hot bath, not crying, just going about cleaning up in a methodical way.

She doesn’t call the police. At first, she doesn’t even tell anyone. She goes to work the next day and pretends nothing happened while giving instructions to her employees about how to build the suspense in a violent video game.

We slowly discover why Michele has an aversion to going to the police, and why she’s so determined to stay in control of life. When she was a child, her father went on a killing spree in Paris, and after the massacre, he came back home and asked his girl to help burn up the family possessions. She did, and as her father was being arrested, she was photographed in front of the fire, with ashes on her face. Ever since, she has been associated with the murders and has fought hard to build a prosperous life.

The rapist has her cell number and starts texting her, and she suspects that the perp might be someone who works for her. But we’re kept guessing.

She has a loser son, Vincent (Jonas Bloquet), who works at a fast-food joint. The husband whom she divorced is named Richard (Charles Berling), and he’s a frustrated writer. Her best friend is Anna (Anne Consigny), who co-founded the game company with Michele. And her next-door neighbors are the stockbroker Patrick (Laruent Lafitte) and his religious wife Rebecca (Virginie Efira).

All of these characters are introduced with skill by Verhoeven, but the movie centers on Huppert’s Michele, who is in every scene.

The movie is full of suspense, irony and, surprisingly, many laugh-out loud moments. Most of these come from Michele’s bluntness about those around her, and her peculiar take on life — that she’s going to live her life in freedom and not be constrained by societal norms.

In no way does the movie suggest that she’s come to terms or is OK with the rape, as some have suggested. Far from it. She plots to figure out who the rapist is, and then she carefully maneuvers the man, who knows that his identity has been discovered. And rather than immediately turn him in to police, she begins a rather unnerving game. It’s not a revenge thriller, necessarily, although you might end up interpreting it that way. But there’s more ambiguity than you might think. And the movie is very French. It’s hard to imagine anyone except, perhaps, Sharon Stone, playing such a role in an American film.

Huppert does so with wry glee. There’s a disturbing glint in her eye, and you come to understand that she’s completely amoral, in an almost scary way. But that’s why the movie is deliciously perverse. Huppert and Verhoeven are a great team, and I wouldn’t be surprised if she didn’t walk away with the best actress prize at Sunday’s awards ceremony. Her main competition: Ruth Negga of Austin director Jeff Nichols’ “Loving,” or possibly Kristen Stewart of “Personal Shopper.”

Shahab Hosseini and Taraneh Alidoosti in "The Salesman."
Shahab Hosseini and Taraneh Alidoosti in “The Salesman.”

The other late standout in Cannes is Iran’s “The Salesman,” which follows the fate of Rana (Taraneh Aliodoosti) and her husband  Emad (Shahab Hosseini). The two work at a local school, and both are starring in a play, Arthur Miller’s “The Death of a Salesman.” One day, Rana thinks the person ringing her high-rise bell below is her husband, coming home from practicing the play, and she buzzes the caller in without asking. She starts to shower, but ends up being attacked by an intruder. She hits her head on the bathroom glass and goes unconscious, and neighbors discover her lying on the floor as the intruder runs down the steps.

When Emad gets home, he discovers that his wife is in the hospital, possibly with a concussion. But his wife won’t tell Emad exactly what happened. He suspects the worst, possibly a sexual assault, but his wife refuses to discuss the matter. She’s scared, and she doesn’t want to stay in the apartment any more.

While Rana tries to return to normalcy, her husband becomes obsessed with finding the attacker. It turns out that the man left his keys to his truck, a cellphone and some money behind. And Emad finds the truck and waits for the owner to come back to claim it, planning on a confrontation.

To say much more would give away some key plot points, but the director, whose previous films include “The Past” and “A Separation,” is masterful at building tension between the wife and husband, leading us to wonder where all of this will go.

With the premieres of “Elle” and “The Salesman,” the race for the major prizes on Sunday becomes more complicated. Some think “American Honey,” from British director Andrea Arnold, will score big. Others think Nichols’ “Loving” has a shot at a major prize. Some, including me, think Jim Jarmusch’s “Paterson” has to be among the contenders. And it wouldn’t be at all surprising to see Germany’s Maren Ade become the second woman to win the Palme d’Or, for “Toni Erdmann.” Jane Campion is the only other woman who has won such an honor in Cannes, for “The Piano.”

There are several people, mainly among the European press, who think Olivier Assayas’ “Personal Shopper,” starring Stewart, will be among the award winners. And it would not be a surprise to see Kleber Mendonca Filho of Brazil win something for his Brazilian tale of a widow fighting a corrupt developer in “Aquarius.” And, no, you can’t rule out the Dardenne brothers, who premiered “The Unknown Girl” and are longtime Cannes favorites.

Sunday should be interesting.

Tonight, the winner of Un Certain Regard, the prestigious sidebar event, will be named.

 

Cannes Day 10: 5 reasons why Sean Penn’s ‘The Last Face’ is a disaster

Javier Bardem and Charlize Theron in "The Last Face."
Javier Bardem and Charlize Theron in “The Last Face.”

 

Sean Penn told the Financial Times that he had a lot riding on the Cannes premiere of his new directorial effort, “The Last Face.” If he was counting on gaining support in Cannes for his film, he’s in a lot of trouble. It was one of the worst receptions of a film I’ve ever seen in Cannes, and he still has to do a press conference later in the day. Here are a few reasons why the movie failed so badly.

  1. Here’s a film about the ravages of war in Africa, mainly in Liberia and the South Sudan. But unlike last  year’s “Beasts of No Nation,” there are no significant roles for black people.
  2. Instead, Penn focuses his story on a love affair between two doctors who work in refugee camps. They’re played by Charlize Theron and Javier Bardem, and the central argument in their relationship is whether they could do more good at the United Nations in Switzerland or helping the wounded in Africa. Theron’s character prefers the halls of the U.N., while Bardem prefers the camps. They argue and argue. But the dialogue is dreadful. And most of the words spoken in the film are mumbled voiceovers.
  3. The supporting cast is equally awful, including poor Jean Reno, who utters some of the most ridiculous lines ever penned for the screen.

    MORE FROM CANNES: Five weird moments at the festival

  4. The movie features lots of surgeries, with an approach that almost seems like war-wound porn. We see legs being chopped off. We see a Caesarean section done in the jungle, on a woman who has had her throat slit. We see gaping wounds in legs and stomachs and elsewhere. It’s rather clear that Penn is trying to show us the horrors of war, but he goes too far.
  5. The movie is so didactic that it ends with a lecture, given by Theron at a gathering of philanthropists, where she talks of the dreams of refugees and how they’re just like us. But lets make this clear: While Penn’s intentions might be good and warm-hearted, his movie is woefully tone-deaf. Cannes is the temple of art films, and there’s an artful way to tell the tragic story of African wars. See the aforementioned “Beasts of No Nation.” This is didacticism at its worst. It’s hard to believe that Penn, who has been known for his philanthropic works, hasn’t been warned about the “white savior” complex. But he walks right into it in “The Last Face.” He might want to return to acting.

Cannes Day 9: Five weird things about ‘The Neon Demon’

 

Elle Fanning in "The Neon Demon."
Elle Fanning in “The Neon Demon.”

Nicolas Winding Refn’s “The Neon Demon” premiered at Cannes Thursday night, and it has to be one of the strangest takes on the horror genre ever made. Here are five things you need to know before seeing it.

  1. It’s bound to be unrated. Refs has always pushed boundaries, but this stylish film also features necrophilia from no other than Jena Malone. She works in the coroner’s office and puts makeup on the dead, when she’s not working for fashion executives.
  2. The movie’s tagline should be: If you can’t beat them, eat them. Yep, we’re talking supermodel cannibals.
  3. Elle Fanning seems like such a nice girl at first, but something goes terribly wrong with her. She knows all the other supermodels want to “be” her. So she really should be a bit more careful about choosing her friends. She says she’s not as innocent as she looks, but can she do battle with vicious supermodel cannibals?
  4. The soundtrack by Cliff Martinez is fantastic. He’s reportedly coming to Austin in June for interviews, and it’s time to brush up on his past.
  5. Refn thrives on controversy, so he probably won’t be too sorry to hear that his movie got wild boos on Thursday night at its press premiere. The press conference is on Friday. Be there or be eaten.

Cannes Day 9: Loving ‘Captain Fantastic’

 

The family in "Captain Fantastic," dressed up for a funeral in their own peculiar way.
The family in “Captain Fantastic,” dressed up for a funeral in their own peculiar way.

U.S. director Matt Ross has a winner in his Un Certain Regard entry at Cannes, “Captain Fantastic.”

The movie stars Viggo Mortensen as Ben, a left-wing father who is raising his family in the wilds of the Pacific Northwest, where he’s home-schooling them in the ways of anti-capitalist, anti-fascist thought. His big hero is Noam Chomsky, and the family celebrates Noam Chomsky Day rather than Christmas. All the kids long for a serrated gutting knife, knowing that they’ll one day be required to stalk a deer and kill it, thus becoming a grownup.

These kids are smart. They’re physically fit. They can survive in the wilderness. And they have elaborate routines to fill their day, with plenty of reading time. Even the young ones are reading books like Dostoevsky’s “The Brothers Karamazov.” And one young woman is reading “Lolita” and being asked to analyze its morality, especially that of the older man who seduces the young girl.

It’s fascinating to watch, but you begin to wonder where the mother is. It turns out that she has a bipolar disorder and has moved back in with her parents in the American Southwest. But even this attempt to seek treatment doesn’t work, and she ends up slashing her wrists.

Ben tells his children the truth, and they’re devastated, of course. But Ben and his merry troupe decide that they must attend the mother’s funeral, so they hop into an old bus and begin venturing out into civilization. And that’s where the real fun begins, as the children marvel at everyone being overweight.

The movie strikes a delicate balance between some of the children who are fascinated by video games and others who are fascinated by the variety of choices at a restaurant. But the most touching moments involve the oder son, Bo (George Mackay), who has no idea how to respond to a young woman’s flirting. It reveals what the kids have been missing, and it’s a beautifully handled scene.

The big problem for the family is this: the mother’s parents, played by Frank Langella and Ann Dowd, want to have a proper funeral and traditional burial for their daughter. But Ben has his wife’s will, and she wants to be cremated and have her ashes flushed down a public toilet. This doesn’t sit well with the parents, of course.

So the oddball family arrives at the funeral, in the scene pictured above, and fireworks ensue.

Ross not only directs but also wrote the screenplay. And it’s wonderfully funny, full or little kids quoting philosophers and the great thinkers of the past. It makes you wonder about our educational system, even while making you also wonder about the merits of raising children in the wilderness — far from the socializing influences of public or private school.

Whatever your views, the dialogue is crisp, and the performances are wonderful, even from the little kids. There’s full frontal nudity, so this isn’t for the whole family. It is, however, a perfect film for anyone who questions the values of consumer culture.

Cannes Day 8: Defending Xavier Dolan

Gaspar Ulliel in Xavier Dolan's "It's Only the End of the World."
Gaspard Ulliel in Xavier Dolan’s “It’s Only the End of the World.”

I knew I’d be in the minority about French-Canadian director Xavier Dolan’s new film, “It’s Only the End of the World,” which premiered in competition Wednesday night.

I liked it, but it was savaged on Twitter moments after the press departed the Palais. It’s these kinds of things that are so disheartening, but part of the game these days.

What’s the movie about? A gay man returns home after a 12-year-absence to tell his mother, brother and sister that he’s going to die soon. It could be AIDS, or some other disease. It’s not specified. But the son, Louis (Gaspard Ulliel), is a successful playwright who’s gay, and it’s obvious that his brother Antoine (Vincent Cassel) is quite resentful of Louis and his success. Antoine makes tools for a living. Louis is featured in glossy magazines.

If you want to get literary, and that’s actually appropriate since the movie is adapted from a play by Jean-Luc Lagarce, it’s basically a story of The Prodigal Son who returns home but soon realizes that there’s no responsible adult parent. The father is dead. The mother (Nathalie Baye) is a kook. The older brother (Cassel) is vindictive; his wife (Marion Cotillard) is confused; and his sister Suzanne (Lea Seydoux) has never really known her brother well but is desperate to change things.

In case you didn’t notice, that’s an all-star French lineup of actors, and they’re quite good.

Most of the criticism has focused on the histrionics, the yelling, the claustrophobic scenes. But that’s typical of a play that’s being adapted into a film. (“Who’s Afraid of Virginia Woolf?” anyone?).

And yes, Dolan is gay, and yes, Dolan uses lots of closeups for Ulliel, whom he clearly thinks is gorgeous. But if you gotta pick a buy for closeups, you could do far worse than Ulliel. And that’s beside the point.

Here’s the deal. If you don’t think the controversial dialogue and rejection of the “prodigal son” is real, then you weren’t paying attention during the AIDS crisis of the 1980s onward. Many a “prodigal son” was rejected. And many went through this kind of scene.

So, the question is: Why are so many people hating this movie? Part of it probably has to do with Dolan’s early successes and his visual stylings. I’m sure many people will have reasoned judgments to contradict what I’ve said. That, too, is part of the game. But never underestimate envy.

Cannes Day 8: Revisiting Jim Jarmusch and a cat or dog’s death

Jim Jarmusch in Cannes. Please notice the artful placement in the lower left corner of my thumb. I'm starting a series called Charles Ealy's thumb meets famous people.
Jim Jarmusch in Cannes. Please notice the artful placement in the lower left corner of my thumb. I’m starting a series called Charles Ealy’s thumb meets famous people.

As I’ve written before, I once asked Jim Jarmusch about the notion of grace and whether Bill Murray was searching for it in “Broken Flowers.” Jarmusch replied that he didn’t believe in grace and that he stopped going to the Catholic Church when he was 12. At the time, his cat had just died, and he was mourning and asked his priest whether the cat would go to heaven. And the priest said cats didn’t have souls, infuriating Jarmusch.

I was talking to Jarmusch on Wednesday in Cannes because he has a fantastic new movie, “Paterson,” starring Adam Driver.

I explained that I realized I was probably wrong to think about Catholic notions such as grace and that I’d probably have been more correct if I’d used a Zen Buddhist term, and that’s certainly an undercurrent in “Paterson.”

This brought back memories for Jarmusch, although he said he couldn’t remember whether it was his cat or his dog that died. At any rate, he confirmed that he’s more of a Buddhist, although not a strict, practicing one.

MORE FROM CANNES: 5 WEIRD MOMENTS TO PONDER.

He said he does tai chi, and that he’s currently reading the Tibetan Book of the Dead because his mother is old and ill, and he’s trying to prepare himself for her death, at least mentally.

And then he launched into a reverie about his respect for life and energy in all living things, including plants and animals, and said he thinks our big problem is that we have become to “human-centric.”

He does not, however, have a similar attitude toward inanimate objects. “I have a terrible time with them. I’m always breaking a teacup or something, and I have to stop and do tai chi so I can accept that my house is full of broken things,” he says.

He also spoke glowingly of Nellie, the English bulldog who stars in “Paterson,” saying that the initial impulse was to go with a Jack Russell terrier. “She was adorable and looking out for the film,” he says. Nellie passed away two months ago, and was in what Jarmusch considers to be a groundbreaking transgender role as Marvin in “Paterson.”

And, that folks, is the essence of Jarmusch’s droll wit.

MORE FROM CANNES: KRISTEN STEWART BOOED. WAS IT DESERVED?

Cannes Day 8: Five more weird moments at the festival

 

Julia Roberts on the red carpet in Cannes. (Getty Images)
Julia Roberts on the red carpet in Cannes. (Getty Images)

Cannes is always full of odd happenings and strange controversies. Here are few to savor:

  1. At the screening of “Carol” last year, keepers of the red carpet prevented women who were wearing flats to walk the stairs. Heels are supposed to be mandatory, and men must wear tuxes. But last year’s huff caused a couple of funny moments this year. Susan Sarandon, who is always outspoken, reportedly wore flats on her trip up the carpet. And Julia Roberts, who was here for the “Money Monster” screening, took off her heels and walked barefoot. It was probably more a matter of practicality than protest.
  2. After getting booed at a press screening of “Personal Shopper,” Kristen Stewart and director Olivier Assayas received a standing ovation at the official premiere at the Palais. Still, the jury is out on the film. Two critics, one from France’s Liberation and the other from Russia’s Afisha, gave the movie an “X,” which translates to F.
    MORE FROM CANNES: Austin director’s “Loving” takes human approach to civil rights case
  3. Lots of disputes still surround British director Andrea Arnold’s “American Honey,” which was shot in the U.S. and features mostly unknown actors, except for Shia LaBeouf. A Variety critic speculated that it could be a contender for the Palme d’Or. But others still dismiss the film as overlong and repetitive. It features a group of kids going around the country, selling magazine subscriptions. They have lots of sex, do a lot of drugs, and get drunk no matter the time of day. It offers a fairly dim view of young adulthood in America, And some Americans have been huffy that Arnold is misrepresenting life in the States. That’s not my concern. At nearly three hours, it’s simply too long and repetitive for me. Sasha Lane of Texas has the starring role, even though she’s a newbie to the film scene. She was reportedly discovered on a scouting trip by Arnold’s team to Panama City, Fla., during spring break.
  4. With all the glitz and glamour of the south of France, you’d think you might be able to go two weeks without thinking of “Duck Dynasty” patriarch Phil Robertson. You’d be wrong. Robertson is in town to sell his new movie, “Torchbearer,” which had a screening in the market, according to the Hollywood Reporter. The trade daily reported that the poster for the film “shows Robertson clutching a Bible in one hand and a rifle in the other, with a tagline that reads, ‘When man stops believing in God, he’ll believe in anything.’ ” He also reportedly misses Miss Kay’s cooking and predicts he’ll lose weight while here. No quiche for this dude.
  5. Since 2001, a group of dog lovers have picked the best performance by a canine in Cannes, and this year’s frontrunner is the English bulldog from Jim Jarmusch’s “Paterson.” The bulldog plays a crucial role in the film’s plot and makes all sorts of weird noises throughout the movie. The dog’s name is Nellie, although he’s in a transgender male role in “Paterson.” And if the dog wins, she won’t be able to accept the honor. She died a couple of months ago, says the “Paterson” star Adam Driver. Rest in peace, Nellie.

The Paramount Theatre announces Summer Classic Film lineup; goes digital

It’s repertory season, also known as summer, which means the lineup for the 2016 Summer Classic film series at the Paramount and Stateside Theatres is out now.

2016 marks 41 years of Paramount’s signature classic films series, which goes from May 26 through September 4. Film tickets are on sale now at austintheatre.org.

This year, the Paramount unveils a new digital projection system, new sound system and  new screen (they will retain the capacity to screen 35mm and 70mm prints whenever available).

Before the series formally starts, look for the “Bridesmaids” Pub Run May 24. There will be booze and then a screening of Paul Feig’s modern comedy classic.

MPW-11602This year’s series once again kicks-off with Michael Curtiz’s “Casablanca” as the opening night film with screenings May 26 and 27.

The popular Martinis & Manicures event returns July 10 with, as one might imagine, martinis and manicures before a screening of Steven Soderbergh’s “Magic Mike.”

Additionally, Iron and Wine’s Sam Beam (a former Dripping Springs resident who moved to North Carolina in 2014) will return July 22 for a special screening of Austin filmmaker Andrew Bujalski’s”Computer Chess.”

There are a whole mess of anniversary screenings this year.

Look for 75th anniversary presentations of the 1941 classics “The Maltese Falcon” and “Citizen Kane” as well as the 100th anniversary of  D.W. Griffiths’ “Intolerance,” the 80th anniversary of Charlie Chaplin’s still-perfect “Modern Times,” and the 95th anniversary of Chaplin’s “The Kid,” which screen in a new digital restoration.

Also look for the 50th anniversary of Sergio Leone‘s “The Good, the Bad, and the Ugly” and Mike Nichols’ “Who’s Afraid of Virginia Woolf?,” the 20th anniversary of the Coen brothers’ “Fargo” and Baz Luhrmann’s  “Romeo + Juliet.”

The Family Film Festival series kicks off with a double feature of Joe Pytka’s “Space Jam” and Michael Pressman’s “Teenage Mutant Ninja Turtles II: The Secret of the Ooze” on June 5, and a special 50th anniversary screening of Les Martinson’s “Batman: The Movie” (aka Batman ’66), July 30.

To celebrate the end of primary season, expect the Leo McCarey’s Marx brothers movie “Duck Soup,” Alan J Pakula’s “All the President’s Men,” John Fankenheimer’s “The Manchurian Candidate” and more.

There are musicals and science-fiction, foreign films and  “Grease” sing-along. In late August, Marilyn Monroe and James Dean will be feted with screenings of Howard Hawks’ “Gentlemen Prefer Blondes, Billy Wilder’s “Some Like It Hot,” Elia Kazan’s “East of Eden,” Nicholas Ray’s “Rebel Without a Cause” and George Stevens’ “Giant” (the latter turns 60 this year).  The Summer Classic Film Series closes Sept. 4 with “Gone with the Wind.”

There are a couple of ticketing options.

Tickets are available online, by phone, or at Paramount Box Office.  General Admission is  $12, Film Fan Admission is $7. The Film Fan program involves free admission to two member parties, reserved seating, discounted tickets and more. Full details available online at www.austintheatre.org/filmfan.

The Flix Tix program gives you a book of 10 admissions, good in any combination to the Paramount’s Summer Classic Film Series for only $60 ($50 for Film Fans).

******

Here is a the full slate.  Films screening at the Paramount will be marked with a (P), while films screening at Stateside will be marked with a (S). DCP means the print is digital.

 

(P) “Casablanca” (1942, 102min/b&w, 35mm)  7pm Thurs 5/26, 9pm Fri 5/27.

(P) “The Maltese Falcon” (1941, 100min/b&w, DCP)  Directed by John Huston. 9pm Thurs 5/26, 7pm Fri 5/27.

(P) “The Third Man” (1949, 104min/b&w, DCP) Directed by Carol Reed. 3pm Sat 5/28, 4:15pm Sun 5/29.

(P) “Citizen Kane” (1941, 119min/b&w, 35mm) Directed by Orson Welles. 5pm Sat 5/28, 2pm Sun 5/29.

(P) “The Thin Man” (1934, 93min/b&w, 35mm)  Directed by W.S. Van Dyke. 7pm Tues 5/31.

8be67ff49a859cf843760b167c5b7bc5(P) “Cabaret” (1972, 124min/color, DCP) Directed by Bob Fosse.  8:50pm Tues 5/31.

(P) “Labyrinth” (1986, 102min/color, 35mm) Directed by Jim Henson. 7pm Thurs 6/2.

(P) “Purple Rain” (1984, 111min/color, DCP) Directed by Albert Magnoli. 9pm Thurs 6/2.

(P) “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964, 94min/b&w, DCP) Directed by Stanley Kubrick. 7pm Fri 6/3.

(P) “The Shining” (1980, 144min/color, 35mm) Directed by Stanley Kubrick. 8:55pm Fri 6/3.

(P) “Space Jam” (1996, 88min/color, DCP) Directed by Joe Pytka. 2pm Sun 6/5.

(P) “Teenage Mutant Ninja Turtles II: The Secret of the Ooze” (1991, 90min/color, 35mm) Directed by Michael Pressman. 3:45pm Sun 6/5.

(P) “Mr. Smith Goes to Washington” (1939, 129min/b&w, DCP) Directed by Frank Capra. 7pm Tues 6/7, 8:25pm Wed 6/8.

(P) “Duck Soup” (1933, 70min/b&w, 35mm) Directed by Leo McCarey. 9:25pm Tues 6/7, 7pm Wed 6/8.duck_soup_xlg

(S) “All the President’s Men” (1976, 139min/color, DCP) Directed by Alan J. Pakula. 7pm Thurs 6/9.

(P) “The Manchurian Candidate” (1962, 126min/b&w, DCP)  2:45pm Sun 6/12.

(P) “The Great Dictator” (1940, 126min/b&w, 35mm) Directed by Charlie Chaplin. 5:05pm Sun 6/12.

(P) “Dumbo” (1941, 64min/color, DCP) Directed by Ben Sharpsteen. 1pm Sun 6/12.

(P) “The Man Who Shot Liberty Valance” (1962, 123min/b&w, 35mm) Directed by John Ford. 7pm Mon 6/13, 9:15pm Tues 6/14.

(P) “The Searchers” (1956, 119min/color, 35mm) Directed by John Ford.  9:20pm Mon 6/13, 7pm Tues 6/14.

(P) “The Good, the Bad, and the Ugly” (1966, 179min/color, DCP) Directed by Sergio Leone. 7pm Wed 6/15.

(P) “Shane” (1953, 118min/color, DCP) Directed by George Stevens. 7pm Thurs 6/16.

(P) “Butch Cassidy and the Sundance Kid” (1969, 110min/color, DCP) Directed by George Roy Hill.  9:15pm Thurs 6/16.

Stagecoach_US_half2(S) “Stagecoach” (1939, 96min/b&w, DCP) Directed by John Ford.  7pm Fri 6/17.

(S) “High Noon” (1952, 85min/b&w, DCP) Directed by Fred Zinnemann. 8:55pm Fri 6/17.

(S) “A Little Princess” (1995, 97min/color, digital) Directed by Alfonso Cuaron.  1pm Sat 6/18.

(S) “One Flew Over the Cuckoo’s Nest” (1975, 133min/color, DCP) Directed by Milos Forman.  3:15pm Sat 6/18, 4:35pm Sun 6/19.

(S) “A Clockwork Orange” (1971, 136min/color, DCP) Directed by Stanley Kubrick.  7pm Sat 6/18, 2pm Sun 6/19.

(P) “All About Eve” (1950, 138min/b&w, 35mm) Directed by Joseph L. Mankiewicz.   7pm Tues 6/21, 9:05pm Wed 6/22.full.allabouteve-24623__58879.1462509140.360.360

(P) “Double Indemnity” (1944, 107min/b&w, DCP) Directed by Billy Wilder. 9:35pm Tues Tues 6/21, 7pm Wed 6/22.

(S) “Laura” (1944, 88min/b&w, DCP) Directed by Otto Preminger. 7pm Thurs 6/23.

(S) “Fargo” (1996, 98min/color, DCP) Directed by Joel and Ethan Coen. 8:45pm Thurs 6/23.

(P) “Blazing Saddles” (1974, 95min/color, DCP) 7pm Fri 6/24.

(P) “This Is Spinal Tap” (1984, 82min/color, DCP) 8:50pm Fri 6/24.

(P) “The Godfather” (1972, 177min/color, DCP)  Directed by Francis Ford Coppola.   3pm Sat 6/25.

Adventures_of_Robin_Hood_(1938) 1xs(P) “The Godfather Part II” (1974, 200min/color, DCP) Directed by Francis Ford Coppola. 7 pm Sat 6/25.

(P) “Ben-Hur” (1959, 212min/color, DCP) Directed by William Wyler.  3:30pm Sun 6/26.

(P) “The Adventures of Robin Hood” (1938, 102min/color, 35mm) Directed by Michael Curtiz and William Keighley. 1pm Sun 6/26.

(P) “Intolerance” (1916, 170min/b&w/silent w/English intertitles, DCP) Directed by D.W. Griffith. 7pm Tues 6/28.

(P) “Modern Times” (1936, 87min/b&w/silent w/English intertitles, 35mm) Directed by Charlie Chaplin. 7pm Wed 6/29.

(P) “The Kid” (1921, 53min/b&w/silent w/English intertitles, DCP) Directed by Charlie Chaplin. 8:45pm Wed 6/29.

(P) “Oklahoma!” (1955, 145min/color, DCP) Directed by Fred Zinnemann. 7pm Tues 7/5.

(P) “The King and I” (1956, 133min/color, DCP) Directed by Walter Lang. 7pm Wed 7/6.timthumb

(P) “Gigi” (1958, 115min/color, DCP) Directed by Vincente Minnelli. 7pm Thurs 7/7.

(P) “Moulin Rouge!” (2001, 127min/color, DCP) Directed by Baz Luhrmann. 9:15pm Thurs 7/7.

(P) “Dirty Dancing” (1987, 100min/color, DCP) Directed by Emile Ardolino. 7pm Fri 7/8.

(P) “Flashdance” (1983, 95min/color, 35mm) Director by Adrian Lyne 8:55pm Fri 7/8.

(P) “The Sound of Music” (1965, 174min/color, DCP) Directed by Robert Wise. 3pm Sat 7/9.

(P) “Grease” (1978, 110min/color, DCP) Directed by Randal Kleiser. 7pm Sat 7/9.

(P) “Magic Mike” (2012, 110min/color, DCP) Directed by Steven Soderbergh. 2pm, 6pm Sun 7/10.

(P) “Metropolis” (1927, 148min/b&w/silent w/English intertitles, DCP) 7pm Tues 7/12.

ThingPoster(P) “The Thing” (1982, 109min/color, 35mm) Directed by John Carpenter. 7pm Wed 7/13, 9:15pm Thurs 7/14.

(P) “Blade Runner” (1982, 118min/color, DCP) Directed by Ridley Scott. 9:05pm Wed 7/13, 7pm Thurs 7/14.

(P) “The Fellowship of the Ring” (2001, 228min/color, DCP) Directed by Peter Jackson. 7pm Fri 7/15.

(P) “The Two Towers” (2002, 235min/color, DCP) Directed by Peter Jackson. 2pm Sat 7/16.

(P) “The Return of the King” (2003, 263min/color, DCP) Directed by Peter Jackson. 2pm Sun 7/17.

(P) ”Hannah and Her Sisters” (1986, 106min/color, 35mm) Directed by Woody Allen. 7pm Tues 7/19, 8:50pm Wed 7/20.

(P) “Annie Hall” (1977, 93min/color, 35mm) Directed by Woody Allen. 9:05pm Tues 7/19, 7pm Wed 7/20.

(P) “The Graduate” (1967, 106min/color, DCP) Directed by Mike Nichols. 7pm Thurs 7/21.Original_movie_poster_for_the_film_Who's_Afraid_of_Virginia_Woolf-

(P) “Who’s Afraid of Virginia Woolf? (1966, 131min/b&w, 35mm) Directed by Mike Nichols. 9:05pm Thurs 7/21.

(S) “M*A*S*H” (1970, 116min/color, DCP) Directed by Robert Altman. 2pm Sun 7/24

(S) “Nashville” (1975, 159min/color, DCP) Directed by Robert Altman. 4:15pm Sun 7/24.

(P) “Computer Chess” (2013, 93min/b&w, DCP) Directed by Andrew Bujalski. 7pm Fri 7/22.

(P) “Adaptation” (2002, 115min/color, 35mm) Directed by Spike Jonze. 7pm Tues 7/26.

(P) “BBill_&_Tedarton Fink” (1991, 116min/color, 35mm) Directed by Joel and Ethan Coen  9:10pm Tues 7/26.

(P) “Monty Python and the Holy Grail” (1975, 91min/color, DCP) Directed by Terry Gilliam and Terry Jones. 7pm Wed 7/27, 8:45pm Thurs 7/28.

(P) “Bill and Ted’s Excellent Adventure” (1989, 90min/color, DCP) Directed by Stephen Herek. 8:50pm Wed 7/27, 7pm Thurs 7/28.

(S) “Hoop Dreams” (1994, 172min/color, DCP) Directed by Steve James. 7pm Fri 7/29.

(P) “Batman: The Movie” (1966, 105min/color, 35mm) Directed by Leslie H. Martinson. 2pm Sat 7/30.

(P) “Goodfellas” (1990, 145min/color, DCP) Directed by Martin Scorsese. 3:30pm Sat 7/30, 6:55pm Sun 7/31.

(P) “Reservoir Dogs” (1992, 99min/color, DCP) Directed by Quentin Tarantino. 6:10pm Sat 7/30, 5pm Sun 7/31.

(P) “The Age of Innocence” (1993, 139min/color, DCP) Directed by Martin Scorsese. 7pm Tues 8/2.

(P) “Romeo + Juliet” (1996, 120min/color, DCP) Directed by Baz Luhrmann. 7pm Wed 8/3.Orlando_film_poster

(P) “Orlando” (1992, 94min/color, 35mm) Directed by Sally Potter. 9:15pm Wed 8/3.

(P) “The Italian Job” (1969, 99min/color, DCP) Directed by Peter Collinson. 7pm Thurs 8/4, 9:20pm Fri 8/5.

(P) “How to Steal a Million” (1966, 123min/color, DCP) Directed by William Wyler. 8:55pm Thurs 8/4, 7pm Fri 8/5.

(P) “Aladdin” (1992, 91min/color, DCP) Directed by Ron Clements and John Musker. 1pm Sat 8/6.

(P) “Jaws” (1975, 124min/color, DCP) Directed by Steven Spielberg. 3:15pm Sat 8/6, 4:30pm Sun 8/7.

(P) “Jurassic Park” (1993, 127min/color, DCP) Directed by Steven Spielberg. 5:30pm Sat 8/6, 2pm Sun 8/7.

Persona_Poster(P) “Persona” (1966, 84min/b&w/Swedish w/ English subtitles, 35mm) Directed by Ingmar Bergman. 7pm Tues 8/9.

(P) “Blow-Up” (1966, 110min/color, DCP) Directed by Michelangelo Antonioni. 8:40pm Tues 8/9.

(P) ”Beauty and the Beast” (1946, 93min/b&w/French w/ English subtitles, 35mm) Directed by Jean Cocteau.7pm Wed 8/10, 9:30pm Thurs 8/11.

(P) “The Red Shoes” (1948, 133min/color, 35mm) Directed by Michael Powell and Emeric Pressburger. 8:50pm Wed 8/10, 7pm Thurs 8/11.

(S) “Ran” (1985, 162min/color/Japanese w/English subtitles, DCP) Directed by Akira Kurosawa. 3:45pm Sun 8/14.

(P) “Annie” (1982, 128min/color, DCP) Directed by John Huston. 1pm Sun 8/14.

(P) “The 39 Steps” (1935, 86min/b&w, DCP) Directed by Alfred Hitchcock. 7pm Tues 8/16, 9:15pm Wed 8/17.

(P) “The Man Who Knew Too Much” (1956, 120min/color, 35mm) Directed by Alfred Hitchcock. 8:45pm Tues 8/16, 7pm Wed 8/17.

(S) “Notorious” (1946, 101min/b&w, digital) Directed by Alfred Hitchcock. 7:15pm Tues 8/16, 9:10 pm Wed 8/17.

(S) “The Lady Vanishes” (1938, 97min/b&w, DCP) Directed by Alfred Hitchcock. 9:15pm Tues 8/16, 7:15 pm Wed 8/17.Strangers_on_a_Train_(film)

(P) “Strangers on a Train” (1951, 101min/b&w, 35mm) Directed by Alfred Hitchcock. 7pm Thurs 8/18, 9 pm Fri 8/19.

(P) “Suspicion” (1941, 99min/b&w, 35mm) Directed by Alfred Hitchcock. T9:00pm Thurs 8/18, 7pm Fri 8/19.

(P) “Rear Window” (1954, 112min/color, 35mm) Directed by Alfred Hitchcock. 4pm Sat 8/20, 4pm Sun 8/21.

(P) “Psycho” (1960, 109min/b&w, 35mm) Directed by Alfred Hitchcock. 6:05pm Sat 8/20, 2pm Sun 8/21.

(P) “Mary PoppinsIndiana_Jones_and_the_Last_Crusade_A” (1964, 140min/color, DCP) Directed by Robert Stevenson. 1pm Sat 8/20.

(P) “2001: A Space Odyssey” (1968, 160min/color, 70mm) Directed by Stanley Kubrick. 7pm Tues 8/23, 7pm Wed 8/24.

(P) “Indiana Jones and the Last Crusade” (1989, 127min/color, 70mm) Directed by Steven Spielberg. 7pm Thurs 8/25, 7pm Fri 8/26.

(P) “Lawrence of Arabia” (1962, 216min/color, 70mm) Directed by David Lean. 3pm Sat 8/27, 2pm Sun 8/28.

(P) “Gentlemen Prefer Blondes” (1953, 91min/color, DCP) Directed by Howard Hawks. 7pm Tues 8/30, 9:20pm Wed 8/31.

(P) “Some Like It Hot” (1959, 121min/b&w, DCP) Directed by Billy Wilder. 8:50pm Tues 8/30, 7pm Wed 8/31.

(P) “East of Eden” (1955, 115min/color, DCP) Directed by Elia Kazan.  7pm Thurs 9/1, 9:10pm Fri 9/2.338px-Kingkong33newposter

(P) “Rebel Without a Cause” (1955, 111min/color, DCP)  Directed by Nicholas Ray. 9:10pm Thurs 9/1, 7pm Fri 9/2.

(P) “Giant” (1956, 201min/color, DCP) Directed by George Stevens. 3:30pm Sat 9/3

(P) “King Kong” (1933, 104min/b&w, DCP) Directed by Merian C. Cooper and Ernest B. Schoedstack. 1pm Sat 9/3.

(P) “Gone with the Wind” (1939, 238min/color, 35mm) Directed by Victor Fleming.